(June 2010) BY the time Ultravox hit Berlin, their Return to Eden 2 tour is well underway
and graciously polished, despite one temperamental volcano that appears to be
throwing a greasy spanner in the works for the many international fans
attempting any form of travel.
Germany once witnessed chaotic celebrations all over the country as it saw the
political fall of the Berlin Wall. tonight we commemorate the
removal of the barriers Ultravox once created for themselves, way back when the
band split and members went their separate ways – all well over twenty years
ago.
The delayed swirl of guitar sounds initiate “New Europeans,” a new addition,
and surefire route to a show doused with the kind of musical panache that only
age, mastery and experience could deliver.
The eerie presence of that magical Vienna album is captured instantly – just
in this one opening song. The piano crescendo towards the end is so powerful it
bounces off the walls, filling this rather grand theater with a rich,
penetrating sound. What a welcome.
Chris’s continuous warm smiles and huge grins are hard to miss during “Passing
Strangers” – he radiates a real sense of warmth, gratification and enjoyment,
and not only that, he’s the glue which binds the bands energy into a neat ball
of unrivalled master class.
“Mr X” sees the stage bathed in an atmospheric rich hue of electric blue
lighting, summoning Warren to deliver his showpiece. The sound in here tonight
is the best I’ve heard all tour, particularly evident now – the song’s pulse
proving more strong and persistent than previous outings. Billy’s first violin
solo of the evening hits the spot. Strangely creepy and invigorating, it’s
screaming out with an immense clarity, a moment at which the audience throw in
a welcome cheer of appreciation – it would be rude not to.
“Visions in Blue” is sensitive and powerful, both in the musical sense and
vocally. Midge’s vocal and Billy’s piano combining to provide some intense
spine tingling moments.
“Thin Wall” offers a striking blend of funk-tastic rock, met with sophisticated
classical interaction, wrapped up along side the innovative electronics. The
catchy keyboard melody is what’s really holding this song. There’s also an
exotic dark side as Midge employs additional improvisation on guitar; the eerie
blend of notes provide intimate contrast just before Billy’s sharp violin solo
kicks in, cementing what is always one of the greatest live moments on any
Ultravox set.
“I Remember (death in the afternoon)” is and additional take off Rage in
Eden; more funk driven guitar built to massive climax and embellished with
super sensitive piano melodies.
The stage suddenly becomes smothered with a blanket of dark grey mist, while
moments later the legendary tink ignites the torch paper that becomes the
symphonic instrumental, “Astradyne.” Mainly showcasing the talents of Billy
Currie, not only is there a beautiful rhythmic flow of tuneful piano lines, the
slightly different bowing gesture makes the violin solo quite bold and edgy
before he’s back into his solo piano spot, pushing out the notes with immense
power, promptly swapping to intricate melody, all before he takes seconds to
resolve a slight technical hitch upon diving into that renown synth solo hot
spot.
Lament calms things a little; we’re held by its gentle chimes while backing
chords sweep everything along. “Here we go,” announces Midge before he’s
belting out the full on vocal harmonies during the outro.
The phenomenal energy of the band right now creates an equal intensity out in
the audience, now dancing in the aisles and singing along to “Hymm.” Midge
proudly grins in appreciation, happily allowing the audience to momentarily
take over the duties.
“All Stood Still” is anything but. It’s a crazily eccentric marathon which
sees the guys totally engaged. Then there’s the raw ingredients of Warren Cann
with his percussive excellence, the binding that is Chris Cross, the sheer
stage presence of Billy Currie coupled with his unique soloing moments, and
lets face it, no one does it better, last but not least the incredibly rocked
up guitar work of Midge Ure, plus his enduring vocal talent.
The hits arrive, think “Vienna” and “Dancing with Tears in My Eyes,” and are
everything you expected. The only track I don’t feel quite has the bite of
it’s original ’80’s live version is the final one tonight – “The Voice” – the
drive of those forceful piano chords which stabbed during the verses as I
recall, seemed to have been exchanged for a more mellow trickle of notes, but
right now it doesn’t matter. The song powers into a grand finale of drumming
extravagance from all four guys, and let’s say it’s nothing short of
spectacular.
Rather than decaying into the mist within seconds, like the many who give
the comeback tour a bad name, Ultravox breathed a vibrant new life into every
composition tonight. Precision played electro rock/pop, all dressed in an
extravagant light show, complementing the intense heat from those blistering
synth solos plus the sultry moments – and everything in between.
Following their tentative return last year, you thought it couldn’t get any
better, but Return to Eden 2 delivered an extended set, plus buckets more
energy and volume, with plenty left to throw in the faces of those who dare to
question it. Given the dramatic bursts of power witnessed tonight, it’s
almost as if a record couldn’t do them justice; they’re a band who excels
themselves live – this tour, once again, goes way beyond expectation.
